Aubrey/Transcript
| }} /Credits|Credits}} /Gallery|Gallery}} /Transcript|Transcript}} }} Transcript SCENE 1 POLICE HEADQUARTERS AUBREY, MISSOURI (A busy police station office. DETECTIVE JOE DARNELL and LIEUTENANT BRIAN TILLMAN enter, conversing.) DARNELL: There was blood everywhere. Whoever killed her is a real psycho. TILLMAN: Murder weapon? DARNELL: Seven stores in town carry strop razors. TILLMAN: Have somebody check them out. DARNELL: Well, what about the press? TILLMAN: (picking up a phone) Just the basics. No mention of this "sister" thing to anybody. DARNELL: Okay. (Walks away) (Various background voices in the office talk urgently about the current investigation. Camera focuses on DETECTIVE B.J. MORROW, seated at a desk. She is looking intently at TILLMAN. He gets off the phone, looks at her briefly, then walks into his office. BJ continues to stare, appearing uneasy.) (In TILLMAN's office. We get a long look at a photograph of TILLMAN and a woman, presumably his wife. Camera pulls back to reveal TILLMAN seated at his desk drinking coffee in front of a laptop computer. BJ knocks on the door, opens it, and stands in the doorway.) BJ: Brian, I need a minute. TILLMAN: (somewhat irritated) I'm working on a homicide investigation. (waves her in) Come on. BJ: (enters) You didn't show last night. TILLMAN: This what you want to talk about? BJ: I made dinner. TILLMAN: (sighs in exasperation) It's not -- (gets cut off by an phone intercom buzz, and snaps at the phone) What? INTERCOM: Sorry ... coroner's on one. (BJ sits as TILLMAN picks up the phone.) TILLMAN: Yeah, whattaya got, Reuben? (listens to the phone, ignoring BJ for the moment) (BJ picks up a piece of paper and writes a note.) TILLMAN: (still on phone) Uh-huh. (BJ hands him the note. It reads "I'M PREGNANT." TILLMAN looks at it, then BJ. She looks at him with a somewhat embarrassed and guilty look on her face.) TILLMAN: (on phone) Uh, hang on a second, will you, Reuben? (TILLMAN puts the phone on hold, pauses a moment, and then rips a piece of paper from a notepad to write a note. BJ looks at him almost hopefully. He hands her the note.) TILLMAN: This address, ten o'clock tonight. BJ: (surprised) Where's this? (suspicion dawns on her face) A motel? TILLMAN: It's a place we can talk. (BJ looks disapprovingly at TILLMAN, but gets up and walks out of the office. TILLMAN crumples the "I'M PREGNANT" note and throws it out. He picks up the phone to resume his conversation, but puts it down and then holds his head in his hands in despair.) (Later that night, at the Motel Black, BJ ascends the steps to room #6. She fumbles with her keys. As she tries to put the key in the lock, she misses and her vision blurs. She grimaces in pain, starts to hyperventilate, and looks around her in fright. Voices whisper unintelligibly. She sinks to the ground. Nearby, an engine roars into life and headlights flick on, illuminating her face in a white glare. She raises her hand to her eyes to shield them from the light, moaning softly. In grainy black-and-white footage we see the grille of an old (1940's?) truck. BJ is having a vision. In her vision, we are at the wheel of the truck, driving at night into an empty field. Reflected in the rearview mirror we see the face of a young man. The truck stops and the driver takes a large something from the truck bed, grunting with the effort. He walks with it slung over his shoulder through the field, then drops it onto the ground. It is a body. We see the driver digging a shallow grave with a shovel, backlit by the truck headlights. The scene flashes back and forth from the vision of the man digging to BJ digging in the dirt with her bare hands. She is moaning as she digs frantically. She uncovers a long bone (a femur?) and then a human skull. Her digging slows and then stops as she picks up something else from the dirt. She raises it into the light. It's a metal badge that reads: "Justice Department U.S. Federal Bureau of Investigation." BJ raises her head, her mouth open in shock, and looks around her. She stands slowly, still turning around as if looking for help, but she is completely alone in the field.) SCENE 2 FBI HEADQUARTERS WASHINGTON, D.C. (The X-Files office. MULDER is examining several sets of dental X-rays pinned up on a lightboard. SCULLY enters from the adjoining room and stands next to him.) SCULLY: Any cavities? MULDER: I brush after every meal. Would you say they match? (SCULLY examines the X-rays.) SCULLY: Well, there's a filling on the occlusal surface of the upper left bicuspid here and here (pointing at the X-rays) and he's congenitally missing a lower left bicuspid here and here ... Yeah, I'd say they're definitely a match. Who do they belong to? MULDER: Special Agent Sam Chaney. SCULLY: That name sounds familiar. MULDER: Chaney's a legend. (Picks up a file and hands it to SCULLY, who opens it and starts flipping through pages. We get a good look at a photo of Chaney.) Forty years before the Bureau started profiling violent criminals, Chaney and his partner Tim Ledbetter would work on their own time investigating what were then called "stranger killings" -- what are now called serial murders. They disappeared while investigating three murders in Aubrey, Missouri in 1942. Chaney's body wasn't found until two days ago by local detective, B.J. Morrow ... a woman. SCULLY: What's your interest in this case? MULDER: During their time, Chaney's and Ledbetter's ideas weren't very well received by their peers. Using psychology to solve a crime was something like, um ... SCULLY: Believing in the paranormal? MULDER: Exactly. (pauses) There's another mystery. SCULLY: Which is? MULDER: Well, I'd like to know why this policewoman would suddenly drive her car into a field the size of Rhode Island and for no rhyme or reason dig up the bones of a man who's been missing for fifty years. I mean, unless there was a neon sign saying "Dig Here" -- SCULLY: I guess that's why we're going to Aubrey. MULDER: (slyly) Yes, and also I've always been intrigued by women named B.J. (smiles at SCULLY) SCENE 3 CRIME SCENE AUBREY, MISSOURI (Shot of a shovel digging in the dirt. Pull back to reveal the crime scene: an area of the field that is staked off. MULDER and SCULLY are talking to BJ; TILLMAN stands off to the side, overseeing the excavation.) SCULLY: Detective Morrow, exactly how did you discover the remains? BJ: (as if she's rehearsed this explanation) I witnessed a dog digging in the ground; I proceeded to investigate and found the gravesite. MULDER: Well, the initial police report states that you couldn't explain your actions at the time. BJ: (slightly flustered, but recovers) It was late ... I was a bit shocked by my discovery ... I'm afraid I didn't clearly articulate exactly what happened for my initial report. MULDER: What were you doing in the woods at that hour? BJ: My vehicle was experiencing engine failure. MULDER: And you left your car ... (looks around) BJ: (pointing way across the field) Over there, sir. (We see TILLMAN chewing on a piece of straw. He is looking away from the group but is paying close attention to what is being said.) MULDER: Would you say that's uh ... four or five hundred yards? BJ: (looks back and forth at the distance) Yes, sir. MULDER: So from that distance, you could see a dog digging in this field at night? (TILLMAN turns around abruptly and walks over to the three.) TILLMAN: She was taking a shortcut through the woods to reach a phone. The path led her through the field. MULDER: Well, the report says she phoned in from the Motel Black just up the road there. That's not a very short cut. TILLMAN: It seems like you're more interested in how the missing agent was found than in how he got here in the first place. You don't, uh, suspect her, do you? MULDER: No, no, not at all. I would just like to ask Detective Morrow a few more questions. BJ: All right. MULDER: Have you ever, um, have you ever had any clairvoyant experiences? Premonitions, visions, precognitive dreams, things like that? (BJ is taken aback.) TILLMAN: (scoffing) What the hell kind of question is that? BJ: (incredulously) Dreams? MULDER: Yeah. TILLMAN: (condescendingly) Look, Agent Mulder, I don't mean to be rude, but we have a lot to do. If you have any further questions specifically pertaining to your investigation of this crime, please feel free to call. Come on, B.J. (TILLMAN walks off. BJ follows absently. SCULLY and MULDER share a look.) SCENE 4 CORONER'S OFFICE EXAMINING ROOM C (An examination room. Close-up of a bone fragment through a magnifying glass. Pull back to reveal SCULLY examining bones laid out on a table.) SCULLY: These bones are in good condition. But I think the field may have been tilled shortly after Chaney was buried; there are small cuts on the top three ribs. I don't think they were made by an animal. MULDER: (Sitting on a tabletop perusing a small black leather journal) Listen to this, Scully. "One must wonder how these monsters are created." Chaney wrote this. "Did their home life mold them into creatures that must maim and kill, or are they demons from birth?" SCULLY: Well, that's poetic but it doesn't help us much. What did he say about the 1942 homicides? MULDER: (looking at a file) Well, the press called the murderer "The Slash Killer." His three victims were all young women aged twenty-five to thirty. (Flips through a series of gruesome black and white photographs.) He disabled them with a blow to the head. (SCULLY picks up Chaney's skull, turns it to reveal a jagged hole in the back of the skull.) MULDER: He would carve the word "SISTER" on their chests and paint it on the wall with their blood. =Episode Navigation= Category:TXF Season 2 transcripts